Artists Exhibitions Hannah Hoffman News Fairs

Now on view

Lavinia

03.30.24–05.04.24

Andy Robert
LAKOU: One, Two, Fifth
12.15.17 – 02.28.18
Images, Information, Inquire, Related

Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Remembering Ken: Kenneth P. Thompson (1966 – 2016), 2017. Oil, pencil and ink on canvas. 36 x 36 inches (91.4 x 91.4 cm)

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Detail: Andy Robert, Remembering Ken: Kenneth P. Thompson (1966 – 2016), 2017. Oil, pencil and ink on canvas. 36 x 36 inches (91.4 x 91.4 cm)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Remembering Ken: Kenneth P. Thompson (1966 – 2016), 2017. Oil, pencil and ink on canvas. 36 x 36 inches (91.4 x 91.4 cm)

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Detail: Andy Robert, Remembering Ken: Kenneth P. Thompson (1966 – 2016), 2017. Oil, pencil and ink on canvas. 36 x 36 inches (91.4 x 91.4 cm)

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Detail: Andy Robert, Remembering Ken: Kenneth P. Thompson (1966 – 2016), 2017. Oil, pencil and ink on canvas. 36 x 36 inches (91.4 x 91.4 cm)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Anacaona, 2017. Oil and pencil on linen. 88 x 74 inches (223.5 x 188 cm)

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Detail: Andy Robert, Anacaona, 2017. Oil and pencil on linen. 88 x 74 inches (223.5 x 188 cm)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Smoking Gun, 2017. Oil and pencil on canvas. 82 x 74 inches (208.3 x 188 cm)

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Detail: Andy Robert, Smoking Gun, 2017. Oil and pencil on canvas. 82 x 74 inches (208.3 x 188 cm)

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Andy Robert, Thelma Golden, 2017. Oil pastel and pencil on linen. 43 x 33 inches (109.2 x 83.8 cm)

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Detail: Andy Robert, Thelma Golden, 2017. Oil pastel and pencil on linen. 43 x 33 inches (109.2 x 83.8 cm)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Police and Thieves, 2017. Oil and pencil on canvas. 24 x 20 inches (61 x 50.8 cm)

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Andy Robert, Evans, 2017. Oil and pencil on canvas. 60 x 60 inches (152.4 x 152.4 cm)

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Detail: Andy Robert, Evans, 2017. Oil and pencil on canvas. 60 x 60 inches (152.4 x 152.4 cm)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm) (overall dimensions)

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Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm) (overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm (overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm (overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm)(overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm) (overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm (overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm)(overall dimensions)

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Detail: Andy Robert, Higher Ground: Soon, Higher Ground: Past Present, Higher Ground: Here, 2017. Oil and pencil on linen. Triptych: 88 x 74 inches (223.5 x 188 cm) (each panel), 88 x 222 inches (223.5 x 563.9 cm)(overall dimensions)

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Installation view: Andy Robert, LAKOU: One, Two, Fifth. 12.15.17 – 02.28.18

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Andy Robert, Breaking News, 2017. Oil and pencil on linen. 22 x 22 inches (55.9 x 55.9 cm)

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Andy Robert, Check II Check, 2017. Oil and pencil on linen. Overall Dimensions: 138 x 75 inches (350.5 x 190.5 cm)

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Detail: Andy Robert, Check II Check, 2017. Oil and pencil on linen. Overall Dimensions: 138 x 75 inches (350.5 x 190.5 cm)

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Exhibition information

A Painting as a Place / Andy Robert. LAKOU: One Two Fifth

 

When I first visited Andy Robert’s studio weeks ago, he was working on the paintings for Lakou: One Two Fifth, and his studio was overwhelmed with “the making.” Multiple samples of paint and pigments covered the floor in small paper containers. In front of me a fragmented grid of dispersed (at that moment) collaged-together canvases looked like the pieces of a puzzle. Also in the making were large-format canvases that leaned against the walls.  Scattered across the floor were printed photographs of city signs and portraits of people from New York: Harlem, Flatbush, Nostrand, as well as other Caribbean neighborhoods in Brooklyn. Altogether, the elements created an idea of space and process that already belonged to the paintings. Even though the artist knew precisely where he wanted to go, the references and how to finish them remained uncertain. The artworks still needed to achieve the conceptual and material density present in the vocabulary Robert had been developing over the past years. Facing the canvases in front of me, I felt I was witnessing a language being formed in that moment.

 

All of these artworks had one thing in common, deconstructive layers operating both in time and space, inside and outside. In a sense, Robert’s paintings were acquiring the materiality of lakou – a Creole word used to designate a self-regulated type of property deeply ingrained in Haitian culture and able to encompass a variety of meanings and uses. A lakou, for example, may be a family courtyard inherited by generations, and shared by the relatives. This implies that one can belong to a specific lakou, which in turn connects you with your ancestors. Lakou land cannot be sold or transferred due to the association with religion and identity. It is also an economic unit and a self-regulated form of social organization that has been part of Haitian society for centuries. The history of the lakou intertwines the specificity of a place, its history and culture. It is the result of a colonial society, and the heritage of the Maroons and the Taíno people. Maroons were African descendant slaves that escaped from the plantations, hid in the woods, and formed autonomous settlements throughout the colonial Americas. A form of radical political and social reaction to enslavement, the Marronage spread out through the entire American continent and the islands.

 

Andy Robert employs thick oil colors and strokes that do not cover the entire surface of the canvas. These layers are rooted in historical and theoretical research and play out on the surface of the works in a tension between figurative painting and abstraction. Even though the topics related to Robert’s paintings are linked to his biography, his intentions are not expressive or emotional, but a reflection about how painting preserves its autonomy in a metaphysical way and links to the idea of place and inheritance through the relationship between the viewer and the work. This relation conflates a subjective and collective experience. It does not introduce the idea through the style of realism or a documentary form; rather the paintings are paradoxically both contextual and distant to a specific historical background. An uncertain temporality is tied up in the paintings, maybe in the same way a colonial history is the undercurrent where the Maroonage and the lakou coexist as a past and present form.

 

In his paintings, the minimalistic phrase “You see what you see,” escapes its tautological and literalistic destiny. Instead, the works give back to the viewer the latency of a place through the grid, the color, the thickness, as well as gestural, deconstructive and indexical form. But they are still paintings. They do not pursue their extension in the gallery space as an installation or any idea of an expanded work. On the contrary, they defend the frame and the canvas as points of departure and end.

 

Through the notion of the lakou and Marronage as preservation of culture and heritage pride, and by setting the Harlem street coordinates of “One, Two, Five” as the title of the show, Robert’s paintings pulse between historical contradictions of a colonial past and the possibility of a black metropolis: a city that is guided by economy, place and friction. In Robert’s work, symbols are simultaneously clear and veiled at the same time. On one painting a sign of a “Checks Cashed” business occupies the center of the composition. It calls to mind the massive numbers of underbanked people in America, and evokes the parallel economy and industry sustained by the labor force that, as described by the Marxist geographer David Harvey, fill the subway every day to make the city live. The same labor force use this economy to send money to Haiti, Mexico, and the rest of the former colonies. The paintings become the scenes where these forces appear as a substrate. A contemporary neon pop sign such as the “Checks Cashed” is forced into ambiguity without losing its identification. The sign is depicted as not only language, but as signifier of a place, an economy, and a history. Andy Robert transforms this background into painting, and painting into a material and conceptual medium, developing a language and a place that are built in the same instant of spectatorship, opening the possibility of re-inscribing the transcendental characteristics of the lakou in the present.

 

– Amanda de la Garza

Past exhibitions

Sam Falls
09.16.16 – 10.29.16

Margaret Lee and Emily Sundblad
You Can Teach an Old Zebra New Tricks
08.07.15 – 09.12.15

Current

Lavinia
03.30.24 – 06.04.24

2024

D’Ette Nogle
MATERIALOUTPOST: IN-COUNTRY
02.23.24 – 02.24.24

Kate Mosher Hall
Never Odd or Even
02.17.24 – 03.23.24

2023

Rosemary Mayer
Noon Has No Shadows
11.12.23 – 12.23.23

Monica Majoli
Space of the Line: Ben, Rameses, Tom
09.12.23 – 10.14.23

Luz Carabaño
encuentros

09.09.23 – 10.21.23

Dominique Knowles
My Beloved
06.03.23 08.05.23

Olga Balema
Loon

04.08.23 05.20.23

Darrel Ellis
01.28.23 03.18.23

2022

Elaine Cameron-Weir
Exploded View / Dressing for Windows
11.12.22 – 01.14.23

Sarah Pucci and Dorothy Iannone
Organized by Scott Portnoy
09.10.22 – 10.22.22

Sweet Days of Discipline
07.16.22 – 08.20.22

Ann Craven
Flowers (Watercolors)
06.04.22 – 07.09.22

Puppies Puppies (Jade Guanaro Kuriki-Olivo)
04.16.22 – 05.21.22

Rochelle Feinstein
You Again
02.12.22 – 03.26.22

2021

Raphaela Simon
Steine
12.11.21 – 01.29.22

Anita Steckel
09.11.21 – 11.13.21

Tony Cokes
Evil.80 Empathy?
06.28.21 – 08.1.21

Talia Chetrit
DICKERING
06.19.21 – 08.14.21

Kate Mosher Hall
Without a body, without Bill
02.20.21 – 04.24.21

2020

Alvin Baltrop
11.21.20 – 01.23.21

Hardy Hill
The Easy Yoke
02.28.20 – 04.11.20

Barbara Kasten
Chroma
02.11.20 – 04.04.20

2019

California Winter
11.08.19 – 12.21.19

Tony Cokes
Della’s House
02.12.19 – 03.22.19

D’Ette Nogle
D’Ette Nogle, 2019
01.29.19 – 04.27.19

2018

Adam Linder
FOOTNOTE SERVICE: SOME TRADE
04.28.18 – 04.29.18

Gallery Share
03.04.18 – 03.31.18

D’Ette Nogle
Wardrobe Selections for Gallery (2013-2018)
03.04.18 – 03.31.18

2017

Andy Robert
LAKOU: One, Two, Fifth
12.15.17 – 02.28.18

Elaine Cameron-Weir
wave form walks the earth
09.17.17 – 11.22.17

Rey Akdogan
07.08.17 – 08.26.17

Joe Zorrilla
Condo New York, hosted by Bortolami Gallery
06.29.17 – 07.28.17

TOUCHPIECE
Curated by Justin Beal
05.21.17 – 06.24.17

Ryan Mrozowski
03.18.17 – 04.29.17

Olga Balema
On The Brink Of My Sexy Apocalypse
01.25.17 – 03.11.17

2016

Paul Thek
11.12.16 – 01.07.17

Sam Falls
09.16.16 – 10.29.16

Barbara Kasten
“I want the eyes to open” – Josef Albers
07.23.16 – 09.10.16

A Change of Heart
Curated by Chris Sharp
06.04.16 – 07.16.16

Ben Schumacher
Motor Earth
04.02.16 – 05.21.16

Raphaela Simon
Tischlein deck dich
04.02.16 – 05.21.16

Isabelle Cornaro
01.23.16 – 03.19.16

2015

Daniel Buren, Sam Lewitt, Wilfredo Prieto, Charles Ray, Pamela Rosenkranz, Joe Zorrilla
11.21.15 – 01.16.16

John Finneran
Dreamers at the Gates of Where Dreamers Are
09.19.15 – 10.31.15

Margaret Lee and Emily Sundblad
You Can Teach an Old Zebra New Tricks
08.07.15 – 09.12.15

Joe Zorrilla
05.02.15 – 07.03.15

Gerhard Richter
Overpainted Photographs
03.21.15 – 04.18.15

Ryan Foerster
03.21.15 – 04.18.15

Various Artist
IMAGE SEARCH
01.01.15 – 02.28.15

2014

Ann Craven
11.15.14 – 12.20.14

Sam Falls
09.05.14 – 10.25.14

Matt Sheridan Smith
07.12.14 – 08.23.14

Joe Zorrilla
06.06.14

Isabelle Cornaro
03.04.14 – 04.19.14

Rey Akdogan
05.03.14 – 06.21.14

The Body Issue
01.11.14 – 02.15.14

2013

Jörg Immendorff
10.04.23 – 12.07.13

Sam Falls, Jacob Kassay, Matt Sheridan Smith, Joe Zorrilla
07.23.13 – 09.21.13

Mira Schendel
Mira Schendel
05.21.13 – 07.13.13

2024

Dominique Knowles at Klima Biennale Wien
04.06.2024 – 07.14.2024
Elaine Cameron-Weir in Frieze
04.03.2024
Monica Majoli in Contemporary Art Quarterly Archive
04.03.2024
Elaine Cameron-Weir in The Brooklyn Rail
04.01.2024
Kate Mosher Hall, Juliana Halpert and Olivia Mole in Conversation
03.23.24
Kate Mosher Hall in Mousse
03.18.24
Tony Cokes and Rochelle Feinstein at Kunsthaus Baselland
04.13.2024 – 08.18.2024
Olga Balema at Hessel Museum of Art
04.06.2024 – 06.26.2024
Kate Mosher Hall in Autre
03.15.2024
Olga Balema at Cooper Brovenick
03.15.2024 – 03.23.2024
Dominique Knowles at David Peter Francis
03.14.2024 – 04.20.2024
Kate Mosher Hall in Carla
03.13.2024
Ann Craven at Phillida Reid
03.09.2024 – 04.13.2024
Maren Karlson in Flaunt
03.09.2024
Elaine Cameron-Weir in Ocula
03.07.2024
D'Ette Nogle in Interview Magazine
03.07.2024
Elaine Cameron-Weir at Lisson gallery
03.07.2024 – 04.13.2024
Ann Craven in Artlyst
03.04.204
Kate Mosher Hall in Frieze Magazine
02.29.2024
Olga Balema at Woonhuis de Ateliers
02.29.2024 – 04.20.2024
Hannah Hoffman in ARTnews
02.27.2024
Tony Cokes at Mildred Lane Kemper Art Museum
02.23.2024 – 07.29.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Family Style
02.22.2024
Hannah Hoffman in ARTnews
02.22.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Frieze
02.16.2024
Elaine Cameron-Weir in artnet
02.14.2024
Tony Cokes at MUDAM
02.09.2024 – 09.08.2024
Ann Craven in Santa Barbara Independent
02.05.2024
Tony Cokes in Hyperallergic
01.31.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in MOMUS
01.19.2024
Tony Cokes in e-Flux
01.17.2024
Olga Balema in the New York Times
01.04.2024
Kate Mosher Hall in Frieze
01.03.2024
Rosemary Mayer in Artillery Magazine
01.02.2024

2023

Puppies Puppies (Jade Guanaro Kuriki-Olivo) in CURA
12.23.2023
Elaine Cameron-Weir in Artnet
12.22.2023
Rosemary Mayer in LA Review of Book
12.18.2023
Ann Craven in the Brooklyn Rail
12.14.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in BOMB Magazine
12.14.2023
Olga Balema in the New York Times
12.13.2023
Barbara Kasten in Artnews
12.13.2023
Darrel Ellis in the New York Times
12.13.2023
Rosemary Mayer in Frieze
12.07.2023
Rosemary Mayer in Mousse
12.06.2023
Monica Majoli in Artforum
11.30.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in FAD Magazine
11.28.2023
Dominique Knowles in Cultured
11.27.2023
Tony Cokes at the Louisiana Museum of Modern Art
11.23.2024 – 04.01.2024
Rosemary Mayer in LA Downtown News
11.20.2023
Rosemary Mayer in Insider
11.20.2023
Tony Cokes in E-Flux
11.20.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Cultured
11.17.2023
Rosemary Mayer in Hyperallergic
11.02.2023
Tony Cokes in The Brooklyn Rail
11.01.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Numero
10.20.2023
Darrel Ellis in OnMilwaukee
10.19.2023
Luz Carabaño in Hyperallergic
10.09.2023
Kate Mosher Hall in Artforum
10.05.2023
Tony Cokes at Moderna Museet
09.30.2023 – 09.22.2024
Tony Cokes at Museion Foundation
09.30.2023 – 02.25.2024
Luz Carabaño in Flaunt
09.22.2023
Rochelle Feinstein at Mehdi Chouakri
09.12.2023 – 11.04.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in NY Times
09.17.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Latina
09.09.2023
Anita Steckel at Wonnerth Dejaco
09.08.2023 – 10.14.2023
Barbara Kasten at Bortolami
09.08.2023 – 10.28.2023
Kate Mosher Hall at Miguel Abreu
09.08.2023 – 10.21.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in NY Times
09.07.2023
Dominique Knowles in Texte Zur Kunst
09.05.2023
Tony Cokes at DIA Bridgehampton
08.26.2023
Dominique Knowles in Elephant
07.12.2023
Dominique Knowles in LA Times
07.05.2023
Raphaela Simon and Andy Robert at Michael Werner Gallery
06.24.2023 – 09.09.2023
Darrel Ellis in ARTnews.com
23.06.2023
Tony Cokes at DIA Bridgehampton
06.23.2023 – 05.2023

Artists

Rey Akdogan Olga Balema Elaine Cameron-Weir Luz Carabaño Talia Chetrit Tony Cokes Ann Craven Darrel Ellis Rochelle Feinstein Kate Mosher Hall Maren Karlson Barbara Kasten Dominique Knowles Adam Linder D’Ette Nogle Puppies Puppies (Jade Guanaro Kuriki-Olivo) Andy Robert Raphaela Simon Anita Steckel Joe Zorrilla

Works by

Paul Thek Alvin Baltrop

2024


Frieze LA
02.29.24 – 03.03.24

2023

Tony Cokes and Dominique Knowles
Paris + Art Basel
10.18.23 – 10.22.23
Caitlin MacQueen and Puppies Puppies (Jade Guanaro Kuriki-Olivo)
The Dallas Invitational Art Fair
04.22.23 – 04.23.23

Frieze LA
02.16.23 – 02.19.23

2022

Rochelle Feinstein
Art Basel Miami Beach
12.01.22 – 12.03.22
Olga Balema, Ann Craven, Caitlin Macqueen and Anita Steckel
Paris + Art Basel
10.19.22 – 10.23.22
Kate Mosher Hall
Frieze NY
05.18.22 – 05.22.22
Elaine Cameron-Weir
(Shared with LambdaLambdaLambda who presented Nora Turato)
Frieze LA
02.17.22 – 02.20.22

2021

Olga Balema
(with Bridget Donahue Gallery)
Frieze NY
05.05.21 – 05.09.21

2020

Barbara Kasten
(with Bortolami Gallery)
Frieze LA - Projects
02.14.20 – 02.16.20
Andy Robert
Cape Town Art Fair
02.14.20 – 02.16.20

2019

D'Ette Nogle and Marcel Broodthaers
June
06.10.19 – 06.14.19
Andy Robert
Frieze NY
05.02.19 – 05.05.19
Group presentation
Frieze LA
02.15.19 - 02.17.19

2018

Olga Balema and Andy Robert
Paris Avant-Première
10.12.18 – 10.18.18
Olga Balema
Art Basel Hong Kong
03.27.18 – 03.31.18